MUS 196

Prof Smith

Sequences

A sequence is when a short musical idea (motive) is presented, then restarted one or more times,
with each statement being transposed up or down by a consistent interval. Sequences can occur
in the melody, the harmony, or both.

The basic musical phrase, normally half a measure to two measures, is called the

______________________

The interval at which it is transposed is called the ___________________________________

How to mark in a score:

The Melodic Sequence:

Pattern appears at m._______ and m. _________ and is then transposed ________________

Harmonic Sequence:

The chords in the pattern are a ______________________ root motion

The pattern is transposed ________________________

Sequences typically play one of two roles:

1.

2.

Sequences can be diatonic or chromatic!

In diatonic sequences, the interval sizes stay the same when the pattern moves to another pitch
level, but the interval qualities may change (major to minor, etc.)

In chromatic sequences, accidentals are introduced, which may change the quality of the
intervals in the pattern and often signal motion to another key (modulation!).

When analyzing sequences:

1. Identify the sequence pattern (melodic idea/motive, harmonic progression, or combination)

2. Determine the root progression.
3. Examine the bass-line motion.
Bach, Invention in D minor

Draw a bracket over the pattern each time it occurs

Compare each pattern with its transposition, label the level of transposition (the interval) and
describe any other changes. In what ways does the sequence sequence differ from the first?

Descending Sequences

Descending 5ths Sequence

The descending-fifth root progression-where adjacent chords outline segments of the circle of
fifths, is the most common sequence type.

The pattern consists of:

- two fifth-related harmonies (D+G, C+F, etc.)

- the patterns descend by second

Let’s look back at our Bach invention!

You will see descending-fifth sequences in several contexts:

• With all root-position triads

• With alternating root-position and first inversion triads or sevenths, or
• With all seventh chords (possibly with inversions)
Important things to consider!

• In most cases, the two chord pattern will include a common tone. Remember our “lazy
saturday” voice leading rules and keep the common tone in the same voice (if the note doesn’t
need to move, don’t move it!)
• Retain the same voice leading for the two chord pattern each time it is transposed
• If the pattern uses root-position triads, the sequence may contain root position vii⚬ (or ii⚬ in
minor); in order to maintain consistent voice leading in each pattern you may double the LT

Let’s Practice!

• Examine the given pattern, then complete the sequence so that it connects to the harmonic
conclusion shown. Remember to maintain exact voice-leading and doubling in the
transpositions
• Bracket the sequence pattern and each of its transpositions, and use arrows with numbers
above to show the interval of transposition
• Write the LIP (linear intervallic pattern) between the staves
• Complete the roman numeral analysis

iii vi ii V I